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FROM   THE  LIBRARY  OF 
REV.   LOUIS    FITZGERALD    BENSON,  D.  D. 

BEQUEATHED   BY   HIM   TO 

THE   LIBRARY  OF 

PRINCETON  THEOLOGICAL  SEMINARY 


L 


AX 


VDDRESS   OX   MUSIC, 


llF.LIVr.IlED    BEFOIlr. 


THE     SINGING    SOCIETY 


SECOND  BAPTIST  CHURCH  IN  BOSTON, 


ON    THE    F. VEXING    OF     THE     7th  APRIL,    IS  14. 


/• 


,' 


BY    JAMES    M,    WIXCHELE, 


^^^f^^^>^ 


BOSTON  !     PRINTED    BY    MANNING    AND    LORING. 


BOSTON,    APRIL  11,    1814. 
SIR, 

The  Singing  Society  of  the  Second  Baptist  Church  have 
appointed  us  a  committee  to  wait  on  you,  to  present  to  you  the  thanks 
of  the  Society  for  your  highly  approved  Address,  delivered  before  them 
on  the  evening  of  their  Exhibition  of  Sacred  Music,  and  to  request  a 
copy  for  the  press. 

We  are,  dear  Sir,  with  much  esteem, 
Yours,  &c. 

JOSEPH     BAILEY, 
JONATHAN    LORING, 
WILLIAM    LEARNED. 

Rev.  Mr.  Winckdl. 


ADDRESS  ON  MUSIC. 


THE  occasion  upon  which  we  are  assembled  is 
truly  interesting.  It  is  to  cherish  in  our  bosoms  a 
desire  for  improvement  in  the  pleasing  and  important 
art  of  music. 

The  performances  which  have  already  been  exhibited 
have  afforded  us  pleasure,  and  engaged  our  attention. 
Our  minds  are  now  naturally  left  to  seek  relief  by 
pursuing  a  different  train  of  thought. 

Under  such  circumstances,  it  is  with  peculiar  em- 
barrassment the  speaker  rises  to  address  you.  Con- 
scious of  his  inability  to  meet  your  expectations,  he  is 
compelled  to  seek  a  shelter  under  the  indulgence  of 
his  hearers. 

To  most  of  you,  I  am  persuaded  no  apology  is  neces- 
sary. You  well  know  that  it  is  no  ordinary  provi- 
dence that  has  called  me  to  the  discharge  of  this  duty. 
I  am  but  the  feeble  representative  of  the  man,  who 
would  have  dignified  this  occasion  with  his  ability,  no 
less  than  his  eloquence. 

Alas  !  how  uncertain  are  all  human  prospects  !  The 
time  was  fixed — the  speaker  engaged — the  intelligence 
given  ;  but  in  a  moment,  the  scene  is  changed  !  The 
hand  of  death  snatches  from  time  the  man,  whose 
ready  mind  and  glowing  heart  shone  with  a  lustre 
through  the  language  of  his  lips.  The  friend  of  science 
— the  patron  of  music — the  champion  of  eloquence — 


Waterman  is  no  more ■!*  Sudden  death  has  hurried 
him  to  the  grave.  There,  cold  and  lifeless,  is  the  heart 
that  just  now  was  the  seat  of  friendship.  His  counte- 
nance no  more  beams  with  intelligence ;  no  more  do 
his  lips  move  with  persuasive  accents  the  tear  of  affec- 
tion ;  no  more  do  they  kindle  the  emotions  of  trans- 
port. He  sleeps  in  death  !  You  strive  in  vain  to  wake 
him  with  the  melody  of  sounds.  His  dirge  is  all  that 
you  can  now  attempt ;  his  dirge  alone  may  benefit  the 
living.  Pay  this  last  tribute  of  respect  to  the  memory 
of  your  deceased  friend — Strike  the  mournful  sound 
of  wo ! ! [The  choir,  (as  these  words  were  pro- 
nounced) without  rising,  sung  the  following  appropri- 
ate dirge,  set  by  Handel :  "  Few  are  our  days,"  &c] 

But  we  cannot  tarry  to  make  reflections  upon  the 
dead.  With  slow  and  solemn  step,  let  us  advance  to 
the  concern  before  us.  We  must  endeavour  to  direct 
our  thoughts  in  a  different  train.  For  although  the 
art  of  music,  to  which  we  are  now  to  attend,  may  be 
made  to  express  the  solemn,  it  may  also  express  the 
cheerful  emotions.  I  therefore  proceed  to  the  subject 
for  which  we  are  assembled. 

That  I  should  enter  into  a  lengthy  discussion  of  the 
nature  and  powers  of  music,  cannot  be  expected  at 
this  time.  A  cursory  view  only  of  the  subject,  to 
show  that  it  is  not  altogether  unworthy  our  notice,  is 
all  that  will  be  attempted. 

Every  science  demands  our  attention,  in  proportion 
to  its  utility  and  importance.     Music,  both  as  a  sci- 

*  The  Rev.  Mr.  Waterman  died  on  the  23d  of  March.  The  time  for 
the  exhibition  had  been  ?ppointed,  and  public  notice  given  that  he  was  to  deliver 
an  Address.  After  this  late  period,  the  author  was  solicited  to  officiate  in  his 
stead;  and,  in  the  midst  of  numerous  avocations,  he  prepared  what  is  now  pie* 
semed  to  the  view  of  a  candid  public. 


cnce  and  an  art,  holds  no  inferior  station  in  the  sources 
of  human  happiness.  Knowledge  of  every  description, 
whether  civil,  religious,  or  political,  is  sought  with 
eagerness.  Reading,  writing,  arithmetic,  grammar, 
geography,  and  eloquence  ;  these  are  thought  almost 
indispensably  necessary  to  a  tolerable  reception  in  soci- 
ety;  and  why  should  not  Music  hold  a  rank  equally 
important  with  the  rest  ? 

Music  is  not,  as  too  many  suppose,  the  offspring 
of  a  heated  imagination  :  it  does  not  grow  out  of  the 
wild  fancies  of  extravagance  and  folly  :  it  is  not  the 
product  of  chance,  nor  the  result  of  artificial  signs  and 
rules  of  man's  invention.  It  claims  a  nobler  origin  ; 
an  origin  as  antiquated  as  the  principles  of  sensation, 
reflection,  and  memory. 

The  vulgar  idea  of  music  is,  that  the  octave,  the 
semitones,  the  flats  and  sharps,  were  at  the  first  estab- 
lished by  authority,  or  mutual  agreement,  and  have 
from  thence  universally  obtained.  Nothing  can  be 
more  erroneous.  For  although  the  in^cnuitv  of  man 
may  have  reduced  the  science  of  music  to  certain  first 
principles,  yet  these  first  principles  are  as  really  found 
to  exist  in  nM.  re,  as  Sir  Isaac  New-ton's  three  great 
laws  of  motion.  Are  the  laws  of  motion  the  founda- 
tion of  the  complicated  science  of  philosophy  ?  so  are 
the  simple  principles  of  music  the  foundation  of  the 
various  combinations  of  sound,  of  concord  and  of 
harmony. 

Was  it  ever  supposed  that  the  result  of  any  two 
numbers  in  arithmetic,  or  the  relation  of  a  verb  to  a 
substantive  in  grammar,  was  established  by  authority  ? 
Is  not  the  result  of  the  former  and  the  relation  of  the 
latter  found  to  exist  independent  of  all  authority  ?    In 

:   manner  all  the   artificial  signs   of  music  are  de- 


signed  to  express  the  principle  previously  ascertained 
to  exist.  If  a  knowledge  of  the  English  language  is 
facilitated  by  the  rules  of  Grammar,  why  may  not  as- 
sistance be  afforded  by  Art  in  obtaining  a  knowledge 
of  music  ?  The  Gamut  is  to  music,  what  Grammar 
is  to  language.  Both  are  capable  of  improvement,  in 
proportion  as  light  is  thrown  upon  the  several  sciences. 
A  history  of  the  progress  of  music  would  afford  us 
many  striking  illustrations  of  this  statement.  The  ge- 
nius of  Handel  and  Giardini  forms  as  distinguished  a 
period  in  the  province  of  music,  as  that  of  Walker, 
Sheridan  and  Johnson  in  the  province  of  letters. 

Can  any  person  tell  why  the  semitones  and  octaves 
should  occur  exactly  at  the  same  distance  from  each 
other,  in  all  cases  ?  Or  can  any  reason  be  assigned  why 
a  certain  distance  of  sound  should  produce  a  discord, 
while  another  certain  distance  of  sound  produces  a 
concord,  unless  it  be  that  the  principle  exists  in  na- 
ture ?* 

The  elements  of  music  are  therefore  inherent  in 
the  constitution  of  the  universe,  and  are  inseparable 
from  its  existence.  For  if  it  is  only  byjhe^  agitation  of 
the  surrounding  atmosphere,  that  thesis  affected  by 
the  power  of  sounds,  must  not  the  quality  of  these 
sounds  be  regulated  by  the  different  arrangement  of 
the  various  particles  of  the  air  ?  and  consequently  must 
not  the  air  itself  possess  those  established  laws,  upon 
which  are  founded  all  the  varieties  of  semitones  and 
octaves,  of  concords  and  discords  ?t 

*  This  is  to  be  understood  of  the  different  sounds  as  they  occur,  without  the 
variations  that  may  be  given  by  flats  and  sharps. 

+  The  author  knows  not  whether  these  thoughts  have  ever  before  been  brought 
into  connexion  with  the  power  of  sounds ;  but  he  is  unable  otherwise  to  account 
for  the  different  effects  produced  by  the  different  modifications  of  the  air.    If  the 


To  ask,  therefore,  why  there  should  exist  such  a 
principle  as  the  power  of  sounds,  is  to  ask,  why  there 
should  be  an  order  in  the  works  of  creation  ?  why  all 
bodies  should  possess  the  power  of  attraction,  of  gravi- 
tation and  cohesion  ?  The  voice  of  nature  is  the  voice 
of  melody  and  praise  ;  and  the  laws  of  nature  is  but 
another  name  for  harmony  itself.  No  human  ingenu- 
ity can  equal  the  exact  symmetry  discovered  in  the 
formation  of  the  human  body.  The  air  we  breathe,  as 
well  as  the  earth  we  tread,  is  made  up  of  various  prop- 
erties, combined  to  answer  the  purposes  of  life  :  and 
who  knows  but  that  the  harmony  of  nature  may  be  to 
the  Almighty  what  the  harmony  of  §ounds  is  to  us  ? 
Who  can  tell  but  that,  to  spiritual  intelligences,  the  si- 
lent accents  of  order  may  be  as  powerful  as  audible 
sounds  to  corporeal  ? 

"  The  morning  stars  that  sang  together"  in  the  begin- 
ning, were  waked  by  the  harmonious  arrangement  of 
all  the  works  of  God.  And  certain  it  is,  that  the  or- 
derly movement  of  the  planetary  system,  the  earth, 
sun,  moon,  and  stars,  each  possessing  different  proper- 
ties of  magnitude,  gravitation,  and  attraction,  each 
turning  on  their  several  axes,  each  revolving  round 
their  several  centres,  and  the  whole  re-revolving  round 
one  common  centre, — swell  the  mind  with  notes  of 
praise,  equalled  only  by  those  when  "  all  the  sons  of 
God  shouted  for  joy." 


sound  of  a  Viol  has  a  different  effect  upon  the  organ  of  hearing  from  that  of  a  Pi- 
ar.o,  why  should  not  the  particles  of  air  possess  a  certain  adaptation  to  each  other, 
to  produce  an  agreeable  effect  in  unison?  If  it  shou'd  be  said,  that  the  agreeable 
and  d:sagrerable  of  sounds  exiu  in  the  mind,  still  it  mny  be  asked — Why,  (seeing 
it  is  through  the  medium  of  the  air  that  it  is  communicated)  should  the  union 
of  two  sounds  be  agreeable,  and  the  union  of  two  other  sounds  be  disagreeable  ? 
A  develcpcmtnt  of  this  subject  would  be  a  desideratum  in  the  science  of  music . 
It  is  certainly  a  subject,  which  presents  a  field  for  much  curious  specula! 


It  is  natural  here  to  observe  the  wisdom  of  our  Cre- 
ator, in  adapting  our  faculties  to  the  various  objects 
with  which  we  are  surrounded. 

There  are  but  three  mediums  through  which  we 
derive  all  our  happiness  ;  the  sensual,  the  organic,  and 
the  intellectual.  The  sensual  is  that  which  we  receive 
through  the  faculties  of  touching,  tasting  and  smell* 
ing  ;  the  organic,  that  of  the  eye  and  ear  ;  the  in- 
tellectual, that  of  the  reflections  of  our  own  minds.— - 
The  organic  pleasures  are  superior  to  the  sensual,  and 
the  intellectual  superior  to  the  organic. 

With  the  sensitive  part  of  our  nature,  music,  as  far 
as  we  are  acquainted,  has  no  concern ;  and  it  holds 
connexion  with  the  intellectual  only  through  the  me- 
dium of  the  eye  and  ear.  The  organic  pleasures, 
therefore,  holding  a  middle  rank  between  the  sensual 
and  intellectual,  elevate  us  as  much  above  the  former 
as  they  leave  us  below  the  latter.* 

With  the  eye,  we  discover  the  silent  language  of 
order,  which  is  exhibited  in  the  works  of  creation,  and 
is  always  productive  of  pleasure  to  the  mind.  This 
principle  we  call  in  to  the  aid  of  beauty,  painting,  ar- 
chitecture, and  gardening.  In  this  manner  also  we  can 
cast  an  eye  over  a  stave,  on  which  musick  is  written, 
and  derive  a  pleasure  from  the  same,  without  uttering 
a  single  sound. 

The  ear,  however,  is  the  principal  organ  concerned 
with  the  power  of  musick.  With  this  we  communi- 
cate a  pleasure  to  the  mind,  by  attending  to  the  beau- 
ties of  melody  and  harmony  when  waked  into  audible 
sounds.  The  first  step  above  the  silent  language  of 
order  addresses  itself  to  the  ear  \  and  although  plea? - 

*  See  Kaiwc's  Introduction  fo  the.  Element"  of  Criticism. 


9 

urable  emotions  may  be  raised  in  distinction  from  the 
faculty  of  seeing,  yet  that  effect  is  the  most  powerful 
which  is  produced  by  the  union  of  these  two  faculties. 
A  proper  modulation  of  the  human  voice,  therefore, 
accompanied  by  appropriate  looks  and  gestures,  may  be 
considered  the  highest  source  of  organic  pleasures. 

The  heart  of  man  is  formed  to  be  animated  and 
warmed  by  man.  Here  nature  speaks  with  a  language 
intelligible  to  all.  That  sympathy  of  sound,  which 
brings  in  unison  the  emotions  of  the  soul,  more  irre- 
sistible than  hostile  fleets  and  armies,  seizes  the  man 
of  vengeance,  disarms  him  of  his  fury,  and  clothes  him 
with  mildness — or  infuses  into  timidity  and  weakness 
the  courage  of  a  warrior,  and  urges  him  forward  to 
brave  the  dangers  of  the  field  of  battle. 

Instrumental  music  of  the  simplest  kind  must  be 
founded  upon  the  principles  of  vocal.*  The  lyre  and 
the  organ  were  in  the  earliest  ages  brought  to  the  as- 
sistance of  the  human  voice.  In  the  ancient  republics 
of  Greece,  the  lyres  of  Orpheus  and  Amphion  possessed 
a  power  inferior  only  to  the  eloquence  of  Demosthe- 
nes ;  or,  to  use  the  figurative  language  of  their  poets, 
at  the  sound  of  their  harps,  the  wild  beasts  laid  aside 
their  ferocity,  the  rivulets  stopped  in  their  courses,  and 
the  trees  of  the  forest  received  the  power  of  feeling 
and  motion. 

Nor  is  it  among  the  heathen  nations  alone  that  we 
are  to  look  for  an  attention  to  music.  Have  you  for- 
gotten that  Jubal  was  the  father  of  all  such  as  handled 

•  "Instrumental  music  is  never  introduced,  till  vocal  has  gained  a  considerable 
degree  of  perfection.  Instruments  are  designed  to  imitate  the  voice  :  the  extent, 
tones,  and  modulation  of  the  voice  must  therefore  be  known,  before  they  can  be 
imitated.  The  most  rude  and  uncultivated  savages  are  not  without  their  songs, 
though  dcstitu.c  of  musical  instruments."     Sec  Hubbard's  Essay  on  Music,  page  4, 

B 


10 

the  harp  and  the  organ  in  the  antediluvian  world?* 
Need  I  rehearse  the  songs  of  Moses  and  the  children  of 
Israel  on  the  banks  of  deliverance  ;  or  wake  the  ancient 
harp  of  David  on  the  hill  of  Zion  ?  There  is  not  a  na- 
tion on  earth  but  has  felt  its  power  and  yielded  to  its 
influence. 

Hitherto  we  have  spoken  of  music  as  it  exists  in  na- 
ture, independently  of  the  improvements  of  art.  It  is 
suitable  that  we  should  now  speak  of  some  of  its  dif- 
ferent properties,  and  the  advantages  that  may  be 
derived  from  it. 

A  simple  series  of  sounds,  expressive  of  the  genuine 
feelings  of  the  heart,  is  called  melody.  Such  is  the 
music  of  untutored  nature,  where  the  emotions  of 
joy  or  grief  are  expressed  without  restraint.  Such  also 
is  the  plaintive  melody  of  the  feathered  songsters  of 
the  grove.  Its  effects  are  alike  produced  by  the  per- 
fect chorister,  whose  voice  can  wake  the  dormant  fac- 
ulties of  the  soul ;  and  by  the  tender  mother,  who 
lulls  to  sleep  the  infant  of  her  bosom. 

The  union  of  two  sounds,  placed  at  such  a  distance 
as  to  make  an  agreeable  impression,  is  properly  called 
a  concord.  A  number  of  these  concordant  sounds  is 
appropriately  termed  harmony.  Upon  these  princi- 
ples are  founded  all  the  varieties  of  music. 

A  mixed  emotion,  and  perhaps  a  devotional  frame 
of  mind,  may  be  raised  by  the  assistance  of  harmony  ; 
but  to  impress  an  important  sentiment,  or  to  awaken  a 
soft  and  delicate  passion,  the  simple  melody  is  the 
most  effectual.  Hence  the  frequent  use  of  solos  by 
the  most  admired  authors  of  music.  The  mind,  en- 
raptured wjth  the  sublime  chorusses  of  a  full  band,  is 

*  Gen.  iv,  21. 


11 

soon  dazzled  with  its  elevation,  and  seeks  for  relief  by 
lighting  on  the  simple  strains  of  melody. 

Great  effects  may  be  produced  by  passing  alternately 
from  harmony  to  melody  in  the  same  piece.  Like  the 
tranquillity  of  mind  produced  by  the  calm  which  suc- 
ceeds a  tempest,  the  heart  is  softened  and  impressed 
with  a  well  adapted  solo,  after  the  elevation  of  a  vari- 
ety of  parts.  An  advantage  may  also  be  taken  of  dis- 
cords, to  render  the  effect  of  concords  more  pleasing.* 

Music  receives  an  additional  power  from  its  con- 
nexion with  words.  The  force  of  language,  combined 
with  appropriate  sounds,  has  an  effect  superior  to  ei- 
ther when  taken  separately.  The  sentiments  of  the 
heart  are  naturally  expressed  in  language  suited  to 
their  general  character.  Hence  the  orator,  who  with 
the  effusions  of  his  heart  unites  the  greatest  harmony 
of  periods,  will  make  the  deepest  impression  upon  his 
hearers  ;  and  metrical  compositions  produce  an  effect 
superior  to  those  in  prose,  only  by  virtue  of  their  con- 
nexion with  the  power  of  music.  The  mind,  trans- 
ported with  the  glories  of  creation,  or  with  the  perfec- 
tions of  the  Redeemer,  pours  forth  its  emotions  in  the 
impassioned  strains  of  poetic  melody.  The  most 
unexampled  performances  in  the  province  of  letters 


*  "As  in  painting,  the  brilliancy  of  colouring  is  happily  set  off  by  an  appropri- 
ate :hade,  so  an  occasional  discord  gives  to  harmony  a  mote  exquisit;  swoemess. 
And  on  a  principle  somewhat  similar,  the  expression  of  a  single  part  is  greatly  aug- 
mented if  placed  in  contrast  with  the  harmony  of  a  full  chorus  The  transition 
relieves  the  mind,  and  gives  a  new  spring  to  the  attention.  Moreover,  in  pieces  of 
the  dramatic  kind,  a  composer  not  unfnqucntly  finds  it  necessary  to  give  a  general 
conctntus,  to  represent  a  multitude  a»  uniting  their  voices  'o  give  utterance  to  <\ 
common  emotion. ':t 

+  See  Brown's  Essay  on  Mws'c,  p.  10. 


12 

were  chiefly  delivered  in  poetic  numbers.  I  refer  to 
the  Psalms  of  David,  that  sweet  singer  of  Israel.* 

It  is  easy  to  discover,  that  in  this  connexion  music 
will  characterize  the  prevailing  disposition  as  well  as 
the  morals  of  any  nation.  Is  a  people  naturally  gay 
and  sprightly  ?  You  will  see  it  in  their  music.  Are 
they  cold  and  phlegmatic  ?  You  will  see  it  in  their 
music.  This  is  evident  also  from  the  individuals  to 
whom  we  may  recur  within  the  circle  of  our  acquaint- 
ance. We  seldom  find  an  accurate  musician,  without 
finding  a  correspondent  mildness  of  temper  and  dispo- 
sition. Such  was  doubtless  the  meaning  of  those  ex- 
pressions, made  use  of  to  show  the  effect  produced  up- 
on the  temper  and  manners  of  the  Grecians  by  the 
music  of  Orpheus.  And  it  is  certain  that  the  polite- 
ness, humanity  and  hospitality  of  the  Arcadians,  so 
much  celebrated  in  ancient  history,  was  principally  the 
fruit  of  their  attention  to  the  art  of  music  j  while 
their  Cynethian  neighbours,  neglecting  this  and  the 
fine  arts,  with  which  it  is  connected,  became  "  so  fierce 
and  savage,  that  no  city  in  Greece  was  so  remarkable 
.   for  frequent  and  great  enormities."! 

Is  it  not  of  importance,  therefore,  that  the  youth 
especially,  who  are  forming  their  tempers  as  well  as 
their  morals,  should  pay  suitable  attention  to  this  de- 
lightful branch  of  education  ?  And  is  it  not  as  much 
an  abuse  of  the  mercies  of  God,  to  treat  with  contempt 


*  "The  song  of  Moses  was  written  in  poetry,  undoubtedly  for  the  purpose  of 
being  sung  by  the  choirs  of  Israelites."     Hubbard's  Essay,  page  $. 

+  See  Polybius,  lib.  iv.  chap.  3.  and  Kaime's  Elements  of  Criticism,  chap,  ii, 
part  i.  sect.  2. 


IS 

this  important  source  of  happiness,  as  any  other  of  his 
benevolent  institutions?* 

I  come  now  to  speak  of  the  advantages  of  music 
when  applied  to  the  sacred  duties  of  devotion.  By  the 
universal  consent  of  all  nations,  it  has  been  considered 
an  essential  part  of  divine  service.  I  do  not  wish  to 
apologize  for  the  abuse  of  this  principle  by  the  Pagan 
world  in  honouring  their  impure  deities.  Its  noblest 
effects  are  found  among  the  worshippers  of  the  true 
God.  The  Saviour  of  men  did  not  hesitate  to 
join  with  his  disciples  in  singing  a  divine  hymn  on  the 
most  solemn  and  interesting  occasion.  And  in  after 
days,  those  same  disciples  continued  to  sing  psalms  and 
hymns  and  spiritual  songs  in  the  churches  of  Jesus 
Christ.  Hence  the  worshippers  of  the  Son  of  God 
in  all  ages  have  united  their  hearts  with  their  voices. in 
making  melody  unto  the  Lord. 

The  Zion  of  God  is  the  perfection  of  beauty  :  it  is 
the  mountain  of  holiness,  the  temple  of  virtue,  in- 
habited by  the  sons  and  daughters  of  the  Most  High. 
Can  any  place  be  more  suitable  for  harmony  and  praise? 
Can  any  choir  be  more  honourable  ?  any  subject  more 
exalted  ?  any  emotions  more  pure  ?  Here  every  cir- 
cumstance, that  can  add  to  the  perfection  of  music, 
exists  in  its  full  strength.     Is  grandeur  and  sublimity 

*  Although  the  principles  of  music  are  furnished  by  nature,  yet  to  be  able  to 
convert  them  to  practical  uses,  is  the  work  of  art.  Culture  is  no  less  necessary  10 
a  good  musician  than  to  a  correct  mathematician  :  an  inattention  to  either,  in  the 
season  for  improvement,  may  render  all  after  efforts  ineffectual ;  more  especially 
so  in  music,  where  all  the  beauty  of  the  performance  depends  upon  the  ability  to 
modulate  the  voice.  This  ability  is  best  obtained  in  youth,  while  the  vo  ce  is  yet 
forming.  Very  few  persons,  who  have  arrived  at  the  meridian  of  life,  have  been 
able  to  make  themselves  even  tolerable  performers  in  vocal  music;  while  very 
many  have  reflected  with  much  regret  upon  their  mis'mprovement  of  that  season, 
when  their  voices  might  have  been  cultivated.  This  fact  should  excite  a  dcsiie 
in  the  breasts  of  all,  who  still  have  it  in  their  power,  to  improve  their  voices  while 
they  arc  young. 


14 

necessary  ?  What  grandeur  can  equal  the  perfections 
and  works  of  the  Deity,  unfolded  to  the  view  of  the 
believer  ?  Is  strength  of  affection  and  friendship  nec- 
essary ?  What  affection,  what  friendship  can  equal  that 
of  the  compassionate  Redeemer  ?  Are  emotions  of  joy 
and  transport  necessary  ?  What  emotions  can  equal  the 
animation  of  believers  "  raised  up,"  and  made  "  to  sit 
together  in  heavenly  places  in  Christ  Jesus  ?"  Hence  we 
find  that  most  of  those,  who  have  excelled  in  the  su- 
blime and  beautiful  in  music,  have  chosen  to  draw 
their  subjects  from  the  treasures  of  divine  revelation. 
It  is  a  question  much  agitated  by  critics,  whether 
harmony,  the  performance  of  different  parts  in  unison, 
has  a  tendency  to  increase  or  diminish  the  effects  of 
music.  It  is  said,  that  to  multiply  the  parts  is  to  di- 
vide the  attention,  so  as  to  prevent  the  impression  of 
any  one  important  sentiment.  And  if  we  were  to  ex- 
amine the  pieces  of  some  of  our  American  authors  as  a 
standard,  we  should  find  that  this  statement  is  tootrue.# 
They  have  not  only  directed  a  number  of  parts  and 
sounds ,  but^lso  of  words ,  to  be  performed  at  the  same 
time.  In  one  instance  at  least,  the  four  parts  of  quite 
a  celebrated  tune,  are  pronouncing  at  the  same  time 
the  principal  part  of  four  different  lines  in  the  same 
verse.  This  is  certainly  a  play  of  words  and  a  corrup- 
tion of  music,  to  the  disgrace  of  its  solid  beauties.f 

*  I  say  some,  for  there  are  so  many  excellent  pieces  of  American  composition, 
that  it  would  be  unjust  to  censure  without  discrimination.  Good  music  needs  no 
jpology  ;  it  speaks  for  itself;  and  the  more  it  is  examined,  the  more  will  its  beau- 
ties be  discovered.  When  the  taste  for*uch  pieces  shall  become  established  in 
this  country,  they  will  not  fail  to  procure  "  the  meed  of  praise"  for  their  authors. 

f  See  Hubbard's  Essay  on  Music.  These  observations  are  intended  to  apply 
principally  to  the  music  adapted  to  the  solemnities  of  public  worship.  The  beau- 
ty of  music  consists  in  its  being  suited  to  the  occasion.  If  we  are  displeased  with 
a  levity  in  the  pulpit,  when  engaged  in  the  worship  of  God,  why  should  we  allow 
It  in  that  which  conftitutes  an  essential  part  of  worship?   Music  admits  of  as  great 


Bat  still  I  think  that  in  the  worship  of  the  sanctuary 
we  may  have  a  harmony  of  parts,  which  shall  greatly 
add  to  the  solemnities  of  devotion.  To  produce  any 
lasting  impression  upon  the  mind  with  simple  melody, 
requires  a  greater  skill  of  performance  than  the  gene- 
rality of  singers  possess.  But  by  the  variety  of  voices 
in  different  parts,  the  same  effect  may  be  produced,  al- 
though the  performance  be  not  so  accurate ;  and  the 
God  of  nature,  who  calls  for  the  homage  of  all  our 
hearts,  seems  to  have  bestowed  this  variety  of  voices, 
that  all  may  bear  a  part  in  the  worship  of  their  Creator. 
What  an  elevation  of  soul  is  produced  by  the  per- 
formance of  sacred  music  adapted  to  the  solemnity  of 
the  occasion  !  What  greater  resemblance  can  exist  be- 
tween the  inhabitants  of  heaven  and  earth,  than  when 
with  united  voices  they  ascribe  praise  and  glory  to 
"  Him  who  sitteth  upon  the  throne  and  to  the  Lamb  !" 

I  cannot  relinquish  your  attention,  without  remark- 
ing the  mixture  of  satisfaction  and  regret  with  which  I 
listen  to  the  performances  of  this  evening.  Of  satis- 
faction, that  the  style  of  music  introduced  is  so  much 
superior  to  that  which  has  prevailed  in  New-England 
for  years  past ;  of  regret,  that  the  same  style  should  not 
be  more  universally  introduced.     I  will  not  now  des- 

a  variety  as  public  speaking,  and  in  the  duties  of  the  sanctuary  thpy  should  go  hand 
in  hand.  It  begins  to  be  seen  and  acknowledged,  that  most  of  the  tunes,  which 
have  been  sung  in  the  churches  of  New-England,  are  too  trifling  for  devotional 
purposes.  The  solid  beauties  of  music  are  beginning  to  be  introducer!,  and  that 
corruption  of  taste,  for  which  we  have  been  so  justly  censured,  is  gradually  de- 
clining. 

With  respect  to  fuges,  they  arc  admissible  in  anthems  and  chorusscs  mere  than 
in  simple*  pieces  designed  for  the  sanctuary.  If  they  are  frequent  in  European 
music,  it  is  principally  in  that  of  the  first  description,  and  very  few  or  none  of  the 
tunes  in  common  use  are  made  up  of  fuges,  like  that  referred  to  in  the  example 
above  mentioned,  and  many  others  that  might  be  produced.  Those,  who  may 
wish  to  sc-  that  example  and  a  specimen  of  correct  fuging,  may  fimi  them  in  Hub- 
bard's criticism  on  the  tune  called  Montague,  in  his  Essay  on  Music,  deliver  <l 
before  the  Middlc«ex  Musical  Society,  Sept.  1807.     Sold  by  Manning  &  Lonng. 


16 

cant  upon  that  unmeaning  jargon  of  sounds,  which  has 
taken  the  place  of  solid  music  in  the  worship  of  the 
sanctuary.  I  sincerely  hope,  that  the  noble  efforts  of 
this  society  and  others  in  this  town  to  introduce  the 
beauties  of  psalmody,  will  be  crowned  with  success,  and 
imitated  by  the  surrounding  towns  and  states. 

The  style  of  sacred  music  should  be  adapted  to  the 
sentiments  it  is  designed  to  express.  The  heart  enrap- 
tured with  true  devotion  will  naturally,  with  Handel 
in  his  Chorus  of  the  Messiah,  "  Break  forth  into  joy  and 
gladness.*9  And  what  sentiments  did  the  style  of  Gi- 
ardini  express  in  the  words,  "And  on  the  wings  of  every 
hour  we  read  thy  patience  stilly"  but  those  of  holy  grati- 
tude and  love  ?  What  in  the  words,  "  Father,  how  wide 
thy  glories  shine"  and  then  in  these,  "  But  when  we  view 
thy  great  designs"  &c. ;  what,  I  say,  did  the  style  of  his 
music  convey,  but  the  most  exalted  ideas  of  the  gran- 
deur and  the  glory  of  God  ? 

If,  melted  into  tenderness  by  the  love  of  Jesus,  and 
taught  by  his  Spirit,  we  are  enabled  here  to  express  the 
gratitude  of  our  hearts,  we  shall  hereafter  be  admitted 
to  the  full  choir  of  celestial  spirits,  where  all  our  emo- 
tions will  be  love,  and  all  our  work  praise.  Soon  we 
shall  cease  to  sing  with  mortal  that  we  may  use  immor- 
tal tongues.  Let  us  then  with  our  voices  endeavour 
also  to  cultivate  our  hearts.  Let  us  strive  to  imitate 
the  heavenly  company  in  purity  of  feeling  as  well  as 
harmony  of  sounds  ;  that  in  the  closing  scene  of  time 
we  may  be  found  among  "  the  ransomed  of  the  Lord,  who 
shall  return,  and  come  to  Zion  with  songs  and  everlasting 
joy  upon  their  heads  ;  who  shall  obtain  joy  and  gladness,  and 
sorrow  and  sighing  shall  flee  away" 


I 

-'••■■■.'• 


